A Quote by Jay Maisel

Always carry a camera, it's tough to shoot a picture without one. — © Jay Maisel
Always carry a camera, it's tough to shoot a picture without one.
I don't want to carry big things around with me. I'm lazy. The snapshot camera, you just carry it around and take the picture. You don't need to think about anything. People in the street are not going to wait for you with a big camera. They would freak out. With a snapshot camera, they are comfortable.
Never ever say the word shoot when you are taking a picture with a camera because a camera is not a violent weapon.
Nothing happens when you sit at home. I always make it a point to carry a camera with me at all times...I just shoot at what interests me at that moment.
The selfie has become a new autograph, but it takes twice as long to do as a real autograph. I do it because I'm like, "What am I going to do, these people bought me my house." Why am I not going to take a picture with them except I always say, "You have to hold it up! Shoot down or it's really ugly if you shoot up!" So not only does it take longer, you have to teach them camera angles.
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
I waited a long time, an hour or two, to make that picture perfect. But I wasn't totally satisfied. Then, when I'd finished the shoot, they were about to leave and they suddenly hugged in front of a radiator. I took my camera and that was the picture that ran everywhere - it was spontaneous emotion you could see they were completely in love.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
Making photos is helpful of course to master the craft. To get comfortable with the camera. Learn what a camera can do and how to use the camera successfully. Doing exercises for example if you try to find out things that the camera can do that the eye cannot do. So that you have a tool that will do what you need to be done. But then once you have mastered the craft the most important thing is to determine why you want to shoot pictures and what you want to shoot pictures of. That's where the thematic issue comes to life.
When you are cleaning, sweeping, swabbing floors and running around for the littlest of things on a shoot for an ad or a documentary, you realize how tough life is behind the camera.
I try not to tell students where to shoot, when to shoot, or what to shoot. I feel finding the picture is the most important part of being a photographer. The actual shooting is of lesser importance.
I always think, 'What does this picture mean? What's the best place to put my camera? Do I have anything extra in the picture, things in the background that will distract? Am I in the basic position that will give the essential things for this picture but not too much?'
Camera 1.0 was film. Camera 2.0 was digital. 3.0 is a light-field camera that opens all these new possibilities for your picture taking.
Do not be afraid of mistakes. They will be with you always,every time you put a camera to your eye. [If you] shoot safe, and don't at least occasionally court disaster, you are not trying. Time to hang up the camera.
I love the digital camera because it makes shooting easier and economical. I shoot fast, and I can shoot a lot. I shoot rehearsal; I just keep on shooting nonstop.
I just use [the camera]. I just pick it up like an axe when I've got to chop down a tree. I pick up a camera and go out and shoot the pictures I have to shoot.
When the photographer is nearby, I like to say, 'Quick, get a photo of me looking into the camera,' because I'm never looking into the camera. Christopher Nolan looks into the camera, but I think most directors don't, so whenever you see a picture of a director looking at the camera, it's fake.
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